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Last September while returning from an estate sale, I visited a rug and antique gallery along the gulf coast USA that was closing. The owner is/was a longtime collector of Asian art, but his partner sadly passed and with what appears to be no need for money, he's been liquidating - although I use that term loosley as his prices are still respectfully high - there is no junk in this guy's collection.
So, while there are other pieces I am buying to resell, let me share with you a piece I have truely fallen in love with, plan to share with the world at exhibition, and hope to establish a demand among collectors for this artist as there seems to be for some of his contemporaries.
This six panel screen is a bit over 12 feet (3.66 meters) and about 5.5 feet tall (1.68 meters) and is signed by the artist Nasu Masaki 那須雅城.
When I bought the screen I did not know the artist, only that when I looked at the painting, that I found myself lost among the lush peaks of rocky tree covered mountains of my youth (I grew up near the Appalachian Mountains were I spent many a day hiking and camping). At the same time, looking at the majestry of the painting, I find myself humbled before power and grace of a God that I may never see, but yet the work of his hands surround me.
I have since found a brief biography of the artist, but it seems the only information on non-English websites, so you'll need to translate
Masaki is credited as a founder of the mountain style of painting reknown in Taiwan, but outside of the Museum of Natural History of Taiwan, it seems his works are almost unheard of. So, the screen's value to collectors remains unknown, it appears to have tremendous historical value. Once I learned of the artist's name, I reached out to Dr. Liao Hsin-Tian, the Director-General of the National Museum of History of Taiwan, who responded with much enthusiam, even suggesting to exhibit the piece during the Museum's grand re-opening in 2022.
I think the idea of such an exhibition would be very exciting, and once I have further discussions on the terms of such a loan, I'll update all of you.
Meantime, my 1890's Victorian farm house does not have a single wall long enough the exhibit the screen, so I'm unfortunately restrained from showing it without bringing it out to my porch.
Perhaps that is for the best, as I could see myself forgeting my daily responsibilities as I drift away among these lofty mountains.
Enjoy!
Hi -
Very beautiful, easy to imagine oneself wondering through these mountains, trees and waterfalls and, perhaps, dwelling within such ...
Firstly, I know very little about such pieces, although I understand the importance, and therefore prices asked/obtained for such screens is highly dependent on painting quality/subject depicted and the artist, if signed and accepted as been an authentic/genuine example ...
From you research and response from above cited Museum Director, this would seem to be such - a very beautiful example of this artist’s work ...
I hope the arrangements for the preposed loan to the museum reopening proved not to difficult and goes ahead in due course ...
My congratulations in acquiring ...
Stuart
Thank you! It is signed and matches all known examples currently held by the museum. There are no known screens, so the mere size of the piece dwarfs all known examples.
I understand from Japanese screens sold at Christie's that these screens were often made in pairs. The idea of another existing somwhere makes my mouth water at the prospect of finding it's match.
The photos I posted are in poor light because it's rainy and overcast, so I tweeked this photo a bit to show how I feel the screen looks in real life. The background is a shimmering gold silk, not a drab off yellow as the photo shows.
I will keep my eyes peeled for it's mate, which if I find, I'll happily sell to you after you boost the artist's profile and demand at the exhibit. By the way, those plates we discussed sold for over four grand, so needless to say, I didn't end up with them. Cheers! John
@johnshoe Well they bought the lot, right? So some of the pieces factored in on the price, but I suspect the plates were the big draw.
@johnshoeif you finds it's mate, we'll take them to auction after exhibition and split the profit, and I suspect the result of the sale will easily help you to forget the loss on the plates! Cheers!
@greeno107 Hey, that's a good idea! Peter always says a pair brings more than the sum of the two sold individually.
Love your screen in the ‘Chinese taste’. That was a major factor in my decision to purchase my Japanese screens years ago. Attached are some photos.
They are un-signed Kano school from first half of 18th century. The obvious depiction of equestrian activities of nomadic Tartars of northern China also more subtly incorporates a famous tale from the fifth century titled ‘Lady Wen-Chi Returns to Han’. That white, rounded object on the right screen is a yurt!
Doing some additional research, I found an almost duplicate set in the Freer Gallery in Washington.
Notice these screens are not colored and they also have various notations indicating color choices for full polychrome production of later sets based on this template. This ‘template set’ of screens are attributed to the 17th century Kano school artist Tan’yu. Over the decades, Edo collectors who wanted a depiction of this subject matter could order up a set of screens from the original template.
@william Wonderful! Tiger hunts have a long Korean history, don't they? Such a tremendous overlap of cultures!
I think in the case of my screen, the Japanese occupancy of Taiwan has historically been a drag on the wide spread appreciation this style of art (water & mountain) made during the period, but in recent years, Taiwan has embraced the art made during the occupancy as there own.
The landscapes are done in a classic chinese manner and the trees with some European oil painting inspiration. I like it a lot, nice find!
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